Pitzer Art Galleries (Nichols Gallery & Lenzner Family Art Gallery)

Liz Glynn

No Second Troy

January 21 – March 23, 2012

Pitzer Art Galleries, Nichols Gallery

Curated by Ciara Ennis

Opening Reception: Saturday, January 21, 2 – 5pm

Nichols Gallery, Pitzer College

Artist Walkthrough: Saturday, January 21 at 2:30pm

Nichols Gallery, Pitzer College

Artist Lecture: Monday, February 20 at 9am

Nichols Gallery, Pitzer College

When a labor shortage threatened to derail its miraculous economic engine (the capitalist workforce was virtually cut in half by the Berlin wall) West Germany imported thousands of Turkish gastarbeiter, guest-workers, during the 1960s and 70s. A very different commodity, however, was similarly imported in the 1860s and 70s: the treasure of Troy. Bookended by these two events Los Angeles-based artist Liz Glynn has created No Second Troy, an exhibition featuring installation, video, and photographic works that examine the ideas of fable and obsession, desire and displacement.

Liz Glynn’s No Second Troy includes video documentation of interventions staged at archeological sites around Turkey and crudely made but preciously embellished artifacts based on the infamous Prium’s Treasure—jewels, goblets, vases, weapons and plates made from copper, silver and gold—excavated at Troy, by amateur archeologist Heinrich Schliemann. Fabricated from trash and re-cast in gold-plated silver and bronze, Glynn’s replicas allude to both the real artifacts as well as the copies commissioned by the Pergamon Museum in Berlin that, in another purloining, were confiscated by the Red Army in 1945. Other works in the series are based on the material culture of Turkish emigrants—foods, crockery, and other consumer goods purchased from local Berlin markets—referencing both the everyday life of Turkish emigrants and the copies of Turkish treasure regularly displayed in museums.

Glynn’s practice frequently uses ancient references to explore human agency and the potential for change in the present. This exhibition represents her first major attempt to link ancient contexts directly with contemporary material culture and the occasionally disjunctive nature of this relationship.